Dozier, Lamont Filmography

• Play in Full Screen Untitled Allee Willis/Detroit Documentary

  2015, role: actor , character name: Himself
• Play in Full Screen Happy on the Ground: 8 Days at GRAMMY Camp®

  2011, role: actor , character name: Himself
• Play in Full Screen God Only Knows: Vocal Harmony - The Voice

  2003, role: actor , character name: Himself
• Play in Full Screen Band of Gold: The Invictus Story

  1999, role: actor , character name: Himself
• Play in Full Screen Motown 40: The Music Is Forever

  1998, role: actor , character name: Himself
• Play in Full Screen Smokey Robinson: The Quiet Legend

  1990, role: actor , character name: Himself
• Play in Full Screen The Songwriter's Hall of Fame 20th Anniversary... The Magic of Music

  1989, role: actor , character name: Himself
• Play in Full Screen The 46th Annual Golden Globe Awards

  1989, role: actor , character name: Himself - Winner: Best Original Song
• Play in Full Screen Nevada Smith

  1975, role: composer

Famous quotes by Lamont Dozier:

"You can't write all those little nuances, inflections that they'd do, ... James and Benny, playing off each other, they'd come up with something ten times better than what you thought you had."

"We pushed back a lot of the old things, trying to get rid of the negative stuff and look at this as a new day, a refreshing, reinventing type of thing, ... Doing a musical is something that's been in my heart for years. We finally decided to do it together."

"They were hard on us, because these were jazz guys, ... Earl Van Dyke and Joe Hunter were always on our backs. I'd show them different chord progressions, and they'd say, 'What kind of playing are you doing, man? That's not a C chord.' I'd say, 'Yes, that is a C chord ...when we started getting hits, then they stopped bugging us."

"Thank God for both our grandmothers, the Hollands' grandmother was very seminal, and mine was the head of the choir at my church, ... I had to be at church on Thursday, Saturday and Sundays rehearsing. I couldn't do anything else until I got that business taken care of."

"She put it up on the school bulletin board, and that gave me such a jump-start toward writing more things,"

"She pulled it off, ... It was her voice and that take-no-prisoners attitude when she's onstage, she was just out there, hungry to be the star."

"He was fussy and very childlike. He'd be a handful, ... He'd have you so angry, but then he'd come up and hug you. He was just aggravated and somewhat fearful about the key. But we knew if we made him stretch, he'd have to invent something for the performance, slide off into a little falsetto, and it just worked."

"Diana had a high thin voice that used to annoy me. Eddie too, ... We'd say, 'Why don't we let Mary (Wilson) sing the song?' But Brian was adamant, it's got to be Diana. Two against one, but we finally let her sing. We brought the keys down for Diana, to give her a fuller sound."

"All three of us just had our eye on what was happening around us, we were very observant to what people were doing in love situations, and what was happening in the world,"

"A girlfriend had caught me in a compromising situation with another girl, ... In trying to defuse the situation, I said 'please, stop in the name of love,' as corny as that may sound. Then I said 'Wow, did you hear that cash register? That's how things happen, songs come out of nowhere."

"We wanted to guide the musicians, so we could create our own sound. We would never let the band just go in and play the chord sheets. We were very focused on what we had in mind for these productions."

"Young writers should definitely research the current sounds and styles."

Lamont Dozier